I agree. I alluded to the neurosis of modernism where the prime directive is to be original, even at the expense of everything else. It's like you came up with a brand new way to kiss your wife, and she looked at you in disgust and said, What was that! And there's no getting around it! You cannot just drive the car, you must build your own road first. You cannot emote any hint of sentimentality because it doesn't fit the narrative. You see how quickly it all becomes absurd and soviet-like.
But the neurosis is born of a type of political correctness, largely academic, where a hierarchy of composers and critics define the terms of what's serious and what's not. And I hate politics. It sullies everything and has no place in music. So, yes, Austenite, the heresy you speak of is real because you are not strictly following the bloody rules, the dogma.
I do like modern music in all of its forms because I am a curious man. But I rarely seek out a second or third listening because the prime directive has become a bore. And deconstructionist music I can hear coming from a mile away. Real talent transcends some of these annoyances - I give you Ligeti - but even he is only worth a listen every couple of months or so, wWhereas I could listen Bach and all sorts of copy cats much more often.